Trainspotting Essay

Throughout the course of this essay I will examine how music and film are combined
at three pivotal moments in the movie Trainspotting. In Grove’s Dictionary of Music
and Musicians, Sir Arthur Bliss’ once stated: ‘ … film music should be judged solely
as music … and the question of its value depends on whether it can stand up to this
test.’1 Contrary to this belief, Post-modern film relies on its soundtrack to convey
meanings to the audience through various signifiers, often by mythologizing recent
youth culture ‘through a process of stylistic connotation in which meanings are
invoked through cultural references’2 In this case, the film, released in 1996, presents
us with an idealised, retrospective of the late 1980’s.

Furthermore, Trainspotting, as an example of post-modern cinema, uses a pre-

recorded soundtrack to link to both, ‘a lost golden age’ 3 and an emerging ‘Britpop’
scene, through tracks such as, Iggy Popp’s ‘Lust for Life’ and Sleeper’s ‘Atomic’
respectively. Boyle explains his use of pre-existing tracks as:

…amazing things to use because they obviously bring a lot of baggage with them.
You know them ... They may have painful associations, and so they inter-breathe with
the material you’re using, and I always love that. 4
Irvine Welsh, the author of the 1993 novel, upon which this film is based, says that he
chose the title ‘Trainspotting’ as the only people who understand the allure of
trainspotting are the participants, and the same may be said about heroin, and its
users. Yet interestingly in direct contrast to this, even during the opening scenes,
Renton’s monologue immediately encourages the audience, to question the arbitrary

1
Claudia Gorbman Narrative Film Music Yale: University Press p.184
2
Ian Conrich and Estella Tincknell (2006) Film’s Musical Moments Edinburgh:
University Press p.135

3
Ibid p.134
4
Paul Hechinger (2013) ‘Danny Boyle: Brits “Brilliant at Film” but “Rubbish at
music” ‘ BBC America http://www.bbcamerica.com/anglophenia/2013/03/danny-
boyle-brits-brilliant-with-music-but-rubbish-at-film - Date Accessed 20/03/17
nature of their daily lives, and arguably to reconsider their own preconceptions about
Heroin. Danny Boyle explains his reasons for doing so:

The problem is that people who make drug films make them so depressing. We
wanted to make a film that actually gives you the rush of drug culture, you go out
there and have a fantastic time, and we wanted to reflect that. 5

This ‘choose life’ speech serves as the perfect introduction to the movie, and instantly
portrays the hedonistic lifestyle that the protagonists lead. Renton’s first monologue
occurs during this scene and it is a satirical attack on his perceived monotony of
everyday life. In this case, the diagetic use of ‘Lust for life’ is used ironically in a
scene where most people would presume he had little lust for life.
Tincknell states ‘when diagetic performance is absent from the narrative altogether
the soundtrack may operate to …comment on the scene through ironic juxtaposition’ 6
Interestingly his later monologue, after the death of Sick Boy’s baby, is obviously
much more serious, yet the only constant is their insatiable desire for Heroin, which
remains paramount. This may be seen as an allegory for Heroin addiction, whilst it
begins with euphoric highs, there are always subsequent lows or withdrawals and
even eventual deaths.

Telotte states that the success of the film is due to a combination of the vicarious
nature of its plot and a deeply personal soundtrack, which allows us to ‘celebrate a
most pleasurable transgression as we cross over into taboo territory’ 7

Also when they are running down Prince’s Street in Edinburgh is a further reference
to pop culture and is inspired by the Spike Jonze–directed music video for “Sabotage”
by the Beastie Boys. There are various other points within the film where scenes

5
Fiona Russell Powell ‘Trainspotting: Danny Boyle’ Dazed and Confused
https://reader.exacteditions.com/issues/29725/page/26 -Date Accessed 20/03/17

6
Ian Conrich and Estella Tincknell (2006) Film’s Musical Moments Edinburgh:
University Press p.136

7 Ibid p.120
appear to be emulating Music videos and album covers, one example of this is when
the group go to London, and the Beatles Abbey Road album cover is parodied. This
may be described as the MTV aesthetic, and seen as a series of signifiers to youth
subcultures. Mundy states ‘The MTV concept has become an international institution
of youth culture [which has] left an indelible imprint on movies, television,
advertising, music and fashion’ 8

This scene also first establishes the link between Heroin use and Rock music, which is
later confirmed by other instances such as Renton overdosing to Lou Reed’s Perfect
Day. Interestingly both of these artists were Heroin addicts, and this fact itself may
contribute to the effectiveness of the scene, as Danny Peary states ‘[Audiences]
believe that they are among the blessed few that have discovered something… the
average moviegoer has missed’ 9
The film seeks to further establish this subconscious link by using contrasting genres
to portray times where he has not taken Heroin, this is shown in Boyle’s use of;
‘Habanera’ from George Bizet’s Carmen, when Renton first attempts to quit Heroin,
and the techno track ‘Think about the Way’ by Ice Mc, which plays as Renton leaves
for London after successfully giving up Heroin.

The next scene that employs music in a fascinating way is when Renton meets the
young girl Dianne, at the volcano bar in Edinburgh. In the beginning, a song titled
‘Temptation’ by Heaven 17 plays, whilst Renton is looking for a potential partner,
This is an example of what Mulvey would describe as the ‘male gaze’, this occurs
when ‘the camera creates a male subject position for the viewer … through the ego-
gratifying identification with the male hero and the spectacularisation of the female
body.’10 However, when Renton and Dianne finally see each other, the music changes
to Sleeper’s cover of ‘Atomic.’ And we see Dianne shift from object to subject. This
is used to imply a shift in control; the word ‘Atomic’ may be seen as a metaphor for
power, and the fact that the song was both written and performed by strong female

8 John Mundy (1999) Popular Music on Screen: From Hollywood Musical to Music
Video Manchester: University Press p.221
9
Ian Conrich and Estella Tincknell (2006) Film’s Musical Moments Edinburgh:
University Press p.122
10
K.J Donnelly Ed (2001) Film Music: Critical Approaches Edinburgh: University
Press p.170
characters, further supports this view. Furthermore as this version is a cover by a
‘Britpop’ band, of an original song by Blondie it may also be seen as symbolic of two
ages meeting, both artistically in the song, and literally between Renton and Dianne.
Philip Tagg might also describe the setting of this scene, and Blondie’s original music
video for Atomic as ‘Intersubjective comparison material.’

The music here appears to be diagetic at the bar, but then the music follows them
when they leave. This is a common technique in post-modern cinema and is often
used to disrupt the narrative Tincknell states ‘one of the most interesting features of
the way in which the soundtrack film developed, during the 1990’s was its recovery &
recasting of a version of diagetic performance, that also drew on the use of recorded
11
music.’

In addition there are also other features that allow audiences to infer meaning, an
example would be the inter-textual reference to “A Clockwork Orange”, as the
writing on the wall inside the Volcano Bar is taken directly from ACWO.
Interestingly when they first enter the club, Temptation, by Heaven 17 Is playing,
which is another reference to ACWO, as the band is named after the fictional band
from Stanley Kubrick’s novel.

After Renton has woken up at Dianne’s house, the song Temptation by New order
features non-diagetically. This is an interesting choice as there are no other audible
connections between the two songs. Therefore Boyle must be using the soundtrack to
evoke extra musical meanings, the significance of which may be found in the lyrics:
‘No, I've never met anyone quite like you before’ and ‘Oh it’s the last time’ This is
used to compound the dramatic irony as the audience already knows that she is under
age, and at her parents house, yet Renton does not.

In addition, Kay Dickson supports the importance of these tracks to the narrative:
whilst pop songs may seem transitory, base or mindless to certain filmgoers … they
often play a vital role in both self-definition and micro-cultural satisfaction. 12

11
Ian Conrich and Estella Tincknell (2006) Film’s Musical Moments Edinburgh:
University Press p.136
12
Ibid p.153
The scene where Renton overdoses on Heroin, after being on a methadone
replacement program, holds a lot of encoded information. First of all, even the name
of the Heroin dealer is a reference to a Beatles song about the Heroin – ‘Happiness is
a warm gun’ which contains a character called ‘mother superior’
Also, Lou Reed’s song perfect day ironically plays in the background as Renton is
experiencing an overdose, which is another instance of the aforementioned ironic
juxtaposition through non-diagetic music. There is also a subtext here as Lou Reed
himself had a problem with Heroin, which will be known to lots of audience
members, especially Velvet Underground fans, as he explicitly wrote a song titled
‘Heroin’
Boyle pairs this with visual effects such as Renton falling through the floor, which is
almost certainly inspired by Francis Bacon –an Irish expressionist and surrealist
painter 1909-1992. This influence is clearly shown by the surrealist depiction of
Renton’s perception of the overdose, which breaks ‘the boundary between subjective
and objective.’ 13 By showing him falling through the floor, and keeping the bright
red carpet in the field of view of first person shots, Boyle extends this metaphor until
Renton finally reaches the hospital, and is given an adrenaline shot.
Renton’s perspective then emerges from this carpet to the poignant sound of Lou
Reed’s lyrics ‘… You’re going to reap, just what you sow.’ This perfectly describes
his realisation that all of his actions have consequences, which he will eventually have
to deal with, whilst also maintaining the overall metaphor for addiction.
Furthermore the colour schemes used are reminiscent of Francis Bacon, or Rothko,
especially the contrast of vibrant blood reds and dark blues, against Renton’s pallid
complexion is an example of Boyle’s use of ‘expressionist colour saturation.’ 14

The soundtrack film has been part of a wider cultural process whereby the canon of
classic pop has been raided and redeployed as part of postmodernism’s approach to
pop. 15

13
Ann Powell (2007) Deleuze, Altered States and Film Edinburgh: University Press
p.74
14
Ibid
15
Ian Conrich and Estella Tincknell (2006) Film’s Musical Moments Edinburgh:
University Press p.144
This quote describes how Danny Boyle creates a convincing audio-visual contract, by
using tracks that connote different meanings based on the experiences of the
individual. On the other hand, he also uses songs ironically in keeping with the
conventions of the postmodern model, which ‘uses a pre-recorded soundtrack that
may be ironized through parody.’ 16 Although according to Gorbman, this dichotomy
of music which either supports, of conflicts the narrative, may be problematic, and as
such she suggests considering the idea of ‘mutual implication’17 as a better means of
understanding the complex relationship between sight and sound.

In conclusion, Boyle’s use of both diagetic and non-daigetic music, throughout this
film, signifies various meanings to certain audiences. In the way that it depicts aspects
of drug related subcultures, through both congruent and incongruent audio-visual
contracts, Trainspotting is an important example of postmodern film, and as such, ‘...
seems to offer a pick-‘n’mix pathway through a shattered culture, celebrating
difference, freedom and the power to construct meanings in the way that we wish.’ 18

16
Ibid p.132
17
Claudia Gorbman Narrative Film Music Yale: University Press p.189
18
John Mundy (1999) Popular Music on Screen: From Hollywood Musical to Music
Video Manchester: University Press p.28
 Bibliography

Brown Royal S (1994) Overtones and Undertones: Reading Film Music London:
University of California Press

Conrich Ian and Estella Tincknell (2006) Film’s Musical Moments Edinburgh:
University Press

Donnelly K.J Ed (2001) Film Music: Critical Approaches Edinburgh: University

Press

Gorbman Claudia Narrative Film Music Yale: University Press

Mundy John (1999) Popular Music on Screen: From Hollywood Musical to Music
Video Manchester: University Press

Powell Ann (2007) Deleuze, Altered States and Film Edinburgh: University Press
 Websites Used

Hechinger Paul (2013) ‘Danny Boyle: Brits “Brilliant at Film” but “Rubbish at
music” ‘ BBC America http://www.bbcamerica.com/anglophenia/2013/03/danny-
boyle-brits-brilliant-with-music-but-rubbish-at-film - Date Accessed 20/03/17

Powell Fiona Russell ‘Trainspotting: Danny Boyle’ Dazed and Confused

https://reader.exacteditions.com/issues/29725/page/26 -Date Accessed 20/03/17